Interaction between creation and appreciation: How linguistic art creation impacts the aesthetic evaluation of haiku poetry and ink paintings.

In the psychology of aesthetics, compared with appreciation, there are fewer studies on art creation. This study aims to examine the influence of art creation on appreciation using haiku poetry with reference to the Mirror Model-a process model combining creation and appreciation. Although the model has been primarily used to examine visual arts, we examine its applicability to linguistic arts. In addition, we use ink painting to examine whether a generalisation across artistic genres can occur. The 115 participants were divided into two conditions-creation and control. The former created haiku before and after appreciation, while the latter did not create any haiku. The results showed no improvement in evaluation through creation. Additionally, recognising the difficulty related to creation leads to aesthetic evaluation, and this relationship is mediated by awe. These results expand the existing information regarding the Mirror Model in terms of the different art genres.

The role of the lateral occipital cortex in aesthetic appreciation of representational and abstract paintings: a TMS study.

Neuroimaging studies of aesthetic appreciation have shown that activity in the lateral occipital area (LO)-a key node in the object recognition pathway-is modulated by the extent to which visual artworks are liked or found beautiful. However, the available evidence is only correlational. Here we used transcranial magnetic stimulation (TMS) to investigate the putative causal role of LO in the aesthetic appreciation of paintings. In our first experiment, we found that interfering with LO activity during aesthetic appreciation selectively reduced evaluation of representational paintings, leaving appreciation of abstract paintings unaffected. A second experiment demonstrated that, although the perceived clearness of the images overall positively correlated with liking, the detrimental effect of LO TMS on aesthetic appreciation does not owe to TMS reducing perceived clearness. Taken together, our findings suggest that object-recognition mechanisms mediated by LO play a causal role in aesthetic appreciation of representational art.

Cardiac interoception in the museum: A novel measure of experience.

Interoception is the perception of the body's internal signals in response to various external and internal stimuli. The present study uses a novel method adapted from the CARdiac Elevation Detection Task to examine cardiac interoception objectively and subjectively in a unique context-in the presence of art. Self-report questionnaires were used to measure subjective interoceptive awareness, subjective interoceptive accuracy, and aesthetic appreciation. For objective interoceptive accuracy and sensibility, a wearable device (Shimmer) measured heart rate (HR) and connected to a mobile application to prompt two questions: "Is your heart beating faster than usual?" and "How confident are you in your previous response?" Participants explored an art gallery for 40 minutes while the Shimmer measured their HR and randomly prompted them to answer the questions. Using a Generalized Estimating Equation model, interoceptive sensibility was not found to predict the odds of submitting a correct response. It was also found that art does not improve participants' perceptions of their HR. Finally, there was no relation between aesthetic appreciation and subjective or objective cardiac interoception. Despite lack of statistical significance, the current study's method presents an improved method by examining interoceptive accuracy in the moment under ecological conditions. To date, findings and methods used in interoception are inconsistent or flawed; the value in the current study lies in the development and demonstration of a method to examine how the environment influences the body and self-awareness across a wide variety of contexts, thereby offering a possible standardized measure of interoception for investigators to adopt.

What if Hitler had won WWII and met Kennedy in 1964? Perception and evaluation of counterfactual historical fiction.

Introduction: This study investigates the cognitive processing and perception of counterfactual historical fiction and its effects on readers' receptivity to fascism, superstitious beliefs, and satisfaction with the present state of politics. Counterfactual historical fiction presents alternative realities where history diverges from the official historiography, such as in Robert Harris' novel Fatherland, which depicts a counterfactual world where Hitler won WWII. It was hypothesized that reading this genre incurs additional cognitive costs and is perceived with less realism and more aesthetic appreciation compared to historical fiction. Methods: Seventy-four subjects were divided into two groups and presented with two versions of paragraphs from Fatherland. An experimental group read the original version, describing a counterfactual reality where Hitler is still alive in 1964 (counterfactual historical fiction). A control group read a manipulated version, where events are made plausible by being backdated to 1941 (historical fiction). The study employed a triangulation of methods, utilizing online eye tracking and self-report questionnaires with 7-point Likert scale measurements. Results: The results indicate that counterfactual historical fiction is associated with increased cognitive demands at the first point of divergence, i.e., the first linguistic cue indicating counterfactuality. This genre also induced less perceived realism of history (factuality) and more surprise. Both versions of the text impacted readers by decreasing agreement with fascism, reducing superstitious beliefs, and enhancing their positive evaluation of the current political situation. Discussion: The study reveals the cognitive processing of counterfactual historical fiction, highlighting the need for revising current theoretical assumptions. Additionally, the positive impact on readers' attitudes and beliefs may underscore literature's potential role in fostering critical thinking, pro-social behavior, and satisfaction. Further research is suggested for subsequent empirical validation.

Sustainable materials: a linking bridge between material perception, affordance, and aesthetics.

The perception of material properties, which refers to the way in which individuals perceive and interpret materials through their sensory experiences, plays a crucial role in our interaction with the environment. Affordance, on the other hand, refers to the potential actions and uses that materials offer to users. In turn, the perception of the affordances is modulated by the aesthetic appreciation that individuals experience when interacting with the environment. Although material perception, affordances, and aesthetic appreciation are recognized as essential to fostering sustainability in society, only a few studies have investigated this subject matter systematically and their reciprocal influences. This scarcity is partially due to the challenges offered by the complexity of combining interdisciplinary topics that explore interactions between various disciplines, such as psychophysics, neurophysiology, affective science, aesthetics, and social and environmental sciences. Outlining the main findings across disciplines, this review highlights the pivotal role of material perception in shaping sustainable behaviors. It establishes connections between material perception, affordance, aesthetics, and sustainability, emphasizing the need for interdisciplinary research and integrated approaches in environmental psychology. This integration is essential as it can provide insight into how to foster sustainable and durable changes.

Cognitive and affective reflection increases appreciation for less preferred subcategories of experiential goods.

Attitudes, particularly negative attitudes toward experiential goods, are difficult to change. As a result, people tend to choose and consume experiential goods from their preferred subcategory (e.g., prefer impressionist art so primarily choose to view impressionist paintings) while disregarding options from less preferred subcategories (e.g., ignore cubist or surrealist paintings). This research investigates the consequences of reflection while consuming experiential goods from less preferred subcategories. Namely, an initial, negative reflexive response can be overridden by a reflective appraisal which increases appreciation for experiential goods from less preferred subcategories. Six studies show how a reflective appraisal differs from a reflexive response (i.e., a reflective appraisal has more cognitive and affective thoughts than evaluative thoughts, respectively), that reflective appraisals can supplant reflexive responses to experiential goods in less preferred subcategories, and that reflective appreciation training encourages reflective appraisal. A reflective appraisal improves the intent to consume, enhances appreciation of the consumption, and increases the consumption of novel experiential goods in less preferred subcategories.

A generalised semantic cognition account of aesthetic experience.

Given that aesthetic experiences typically involve extracting meaning from environment, we believe that semantic cognition research has much to offer the field of neuroaesthetics. In the current paper, we propose a generalised framework that is inspired by the semantic cognition literature and that treats aesthetic experience as just one example of how meaning accumulates. According to our framework, aesthetic experiences are underpinned by the same cognitive and brain systems that are involved in deriving meaning from the environment in general, such as modality-specific conceptual representations and controlled processes for retrieving the appropriate type of information. Our generalised semantic cognition view of aesthetic experience has substantial implications for theory development: it leads to novel, falsifiable predictions and it reconfigures foundational assumptions regarding the structure of the cognitive and brain systems that may be involved in aesthetic experiences.

Workplace Aesthetic Appreciation and Exhaustion in a COVID-19 Vaccination Center: The Role of Positive Affects and Interest in Art.

BACKGROUND: Recently, workers employed in vaccination points around the world have been subjected to very high workloads to counter the progress of the COVID-19 epidemic. This workload has a negative effect on their well-being. Environmental psychology studies have shown how the physical characteristics of the workplace environment can influence employees' well-being. Furthermore, studies in the psychology of art show how art can improve the health of individuals. OBJECTIVES: The aim of this research was to test a moderated mediation model to verify how appreciation of workplace aesthetics can impact the level of exhaustion of staff working in a vaccination center, the mediating role of positive and negative affects, and the moderating role of interest in art. METHODS: Data were collected from a sample of 274 workers (physicians, nurses, reception, and administrative staff) working in the same vaccination center in Italy. Participants answered a self-report questionnaire during a rest break. We used a cross-sectional design. RESULTS: The results show that appreciation of workplace aesthetics impacts employees' level of exhaustion. This relationship is mediated by positive and negative affects, and interest in art moderates the relationship between positive affects and exhaustion. CONCLUSIONS: These findings indicate the central role of workplace aesthetics in influencing healthcare workers' well-being, and how interest in art can reduce exhaustion levels. Practical implications of the results are discussed.

Visual affects: Linking curiosity, Aha-Erlebnis, and memory through information gain.

Current theories propose that our sense of curiosity is determined by the learning progress or information gain that our cognitive system expects to make. However, few studies have explicitly tried to quantify subjective information gain and link it to measures of curiosity. Here, we asked people to report their curiosity about the intrinsically engaging perceptual 'puzzles' known as Mooney images, and to report on the strength of their aha experience upon revealing the solution image (curiosity relief). We also asked our participants (279) to make a guess concerning the solution of the image, and used the distribution of these guesses to compute the crowdsourced semantic entropy (or ambiguity) of the images, as a measure of the potential for information gain. Our results confirm that curiosity and, even more so, aha experience is substantially associated with this semantic information gain measure. These findings support the expected information gain theory of curiosity and suggest that the aha experience or intrinsic reward is driven by the actual information gain. In an unannounced memory part, we also established that the often reported influence of curiosity on memory is fully mediated by the aha experience or curiosity relief. We discuss the implications of our results for the burgeoning fields of curiosity and psychoaesthetics.

Beauty in mind: Aesthetic appreciation correlates with perceptual facilitation and attentional amplification.

Neuroaesthetic research suggests that aesthetic appreciation results from the interaction between the object perceptual features and the perceiver's sensory processing dynamics. In the present study, we investigated the relationship between aesthetic appreciation and attentional modulation at a behavioural and psychophysiological level. In a first experiment, fifty-eight healthy participants performed a visual search task with abstract stimuli containing more or less natural spatial frequencies and subsequently were asked to give an aesthetic evaluation of the images. The results evidenced that response times were faster for more appreciated stimuli. In a second experiment, we recorded visual evoked potentials (VEPs) during exposure to the same stimuli. The results showed, only for more appreciated images, an enhancement in C1 and N1, P3 and N4 VEP components. Moreover, we found increased attention-related occipital alpha desynchronization for more appreciated images. We interpret these data as indicative of the existence of a correlation between aesthetic appreciation and perceptual processing enhancement, both at a behavioural and at a neurophysiological level.

Modulation of corticospinal excitability during paintings viewing: A TMS study.

It has been hypothesized that embodied mechanisms encompassing the simulation of actions, emotions and corporeal sensations contribute to aesthetic appreciation of art. In line with this, in this study we assessed whether there is a relationship between the extent to which an artwork triggers motor resonance mechanisms and liking for the artwork. To this aim, we measured motor evoked potentials (MEPs) induced by TMS over M1 whilst participants viewed a series of paintings depicting either humans in static postures or performing dynamic actions, and paintings depicting static or dynamic non-human scenes. Following recording of MEPs, participants indicated how much they liked each painting and found the painting to be dynamic. Viewing of paintings depicting dynamic human actions was associated with a significant increase in MEPs size compared to baseline and to viewing of the other paintings. The more the painting conveyed the impression of a dynamic human action, the higher the MEPs amplitude and the more the artwork was liked. However, liking per se was not related to MEPs size. In fact, the positive relationship between MEPs size and preference for paintings depicting humans was entirely mediated by the perceived dynamism of the portrayed actions, and no positive relationship was observed between subjective preference for paintings depicting landscapes/objects and MEPs size. Overall, our data contribute to shed light on the possible role of embodied resonance mechanisms in aesthetic appreciation of visual art, and show that characterization of motor cortical excitability may serve as a promising approach in neuroaesthetics.

"Stopping for knowledge": The sense of beauty in the perception-action cycle.

According to a millennial-old philosophical debate, aesthetic emotions have been connected to knowledge acquisition. Recent scientific evidence, collected across different disciplinary domains, confirms this link, but also reveals that motor inhibition plays a crucial role in the process. In this review, we discuss multidisciplinary results and propose an original account of aesthetic appreciation (the stopping for knowledge hypothesis) framed within the predictive coding theory. We discuss evidence showing that aesthetic emotions emerge in correspondence with an inhibition of motor behavior (i.e., minimizing action), promoting a simultaneous perceptual processing enhancement, at the level of sensory cortices (i.e., optimizing learning). Accordingly, we suggest that aesthetic appreciation may represent a hedonic feedback over learning progresses, motivating the individual to inhibit motor routines to seek further knowledge acquisition. Furthermore, the neuroimaging and neuropsychological studies we review reveal the presence of a strong association between aesthetic appreciation and the activation of the dopaminergic reward-related circuits. Finally, we propose a number of possible applications of the stopping for knowledge hypothesis in the clinical and education domains.

Contextual and social variables modulate aesthetic appreciation of bodily and abstract art stimuli.

Despite the increasing interest in the plasticity of aesthetic appreciation, we know comparatively little about the role of individuals' cultural (e.g. the appreciators' expertise) and of social emotional-cognitive (e.g. the social influence of people perceived as warm or competent) variables in modulating the appreciation process. In two experiments we investigated 1) whether people with different art-expertise are influenced differently by contextual (i.e. stimuli primed as art) and social (i.e. stimuli rated as beautiful by art-critics) information and 2) whether acknowledging the judgment of a person perceived as warm or as competent has a different influence on individuals' aesthetic appreciation of art works. Warmth and competence are two social dimensions of fundamental importance for categorizing others as in-group or out-group (Fiske, Cuddy, Glick, & Xu, 2002). We found that insinuating that the observed works were pieces of art, highly appreciated by art critics, lead expert participants to judge the stimuli as more beautiful in comparison to when the very same stimuli were not preceded by any manipulation. Moreover, we found that both art-experts and non-experts rated the stimuli as more beautiful when they believed it to be highly appreciated by people perceived as warm vs people perceived as competent. These results provide novel information on the plasticity of aesthetics and pave the way to understanding how tastes and preferences in the domain of aesthetics can be influenced.

Is Beauty in the Hand of the Writer? Influences of Aesthetic Preferences through Script Directions, Cultural, and Neurological Factors: A Literature Review.

Human experience surrounding the appreciation of beauty is not static. Many factors such as script direction and cultural differences directly impact whether, how and why we consider images beautiful. In an earlier study, Pérez González showed that 19th-century Iranian and Spanish professional photographers manifest lateral biases linked to reading writing direction in their compositions. The present paper aims to provide a general review on this topic and intends to highlight the most relevant studies reporting preferences in the appreciation of beauty in individuals with different reading and writing directions and belonging to different cultural backgrounds.

Art Perception in the Museum: How We Spend Time and Space in Art Exhibitions.

Aesthetics research aiming at understanding art experience is an emerging field; however, most research is conducted in labs without access to real artworks, without the social context of a museum and without the presence of other persons. The present article replicates and complements key findings of art perception in museum contexts. When observing museum visitors (N = 225; 126 female, M(age) = 43.3 years) while perceiving a series of six Gerhard Richter paintings of various sizes (0.26-3.20 sq. m) in a temporary art exhibition in January and February 2015 showing 28 paintings in total, we revealed patterns compatible to previous research. The mean time taken in viewing artworks was much longer than was mostly realized in lab contexts, here 32.9 s (Mdn = 25.4 s). We were also able to replicate visitors spending more time on viewing artworks when attending in groups of people. Additionally, we uncovered a close positive relationship (r2 = .929) between canvas size and viewing distance, ranging on average between 1.49 and 2.12 m (M = 1.72 m). We also found that more than half of the visitors returned to paintings, especially those people who had not previously paid too much attention at the initial viewing. After adding the times of returning viewers, each picture was viewed longer than had been estimated in previous research (M = 50.5 s, Mdn = 43.0 s). Results are discussed in the context of current art perception theories, focusing on the need for the ecologically valid testing of artworks in aesthetics research.

Affinity for Poetry and Aesthetic Appreciation of Joyful and Sad Poems.

Artworks with sad and affectively negative content have repeatedly been reported to elicit positive aesthetic appreciation. This topic has received much attention both in the history of poetics and aesthetics as well as in recent studies on sad films and sad music. However, poetry and aesthetic evaluations of joyful and sad poetry have received only little attention in empirical studies to date. We collected beauty and liking ratings for 24 sad and 24 joyful poems from 128 participants. Following previous studies, we computed an integrated measure for overall aesthetic appreciation based on the beauty and liking ratings to test for differences in appreciation between joyful and sad poems. Further, we tested whether readers' judgments are related to their affinity for poetry. Results show that sad poems are rated significantly higher for aesthetic appreciation than joyful poems, and that aesthetic appreciation is influenced by the participants' affinity for poetry.

Is it the picture or is it the frame? An fMRI study on the neurobiology of framing effects.

Using functional magnetic resonance imaging (fMRI) we investigated whether a culturally defined context modulates the neurocognitive processing of artworks. We presented subjects with paintings from the Museum of Modern Art (MoMA) in New York, and labeled them as being either from the MoMA or from an adult education center. Irrespective of aesthetic appreciation, we found higher neural activation in the left precuneus, superior and inferior parietal cortex for the MoMA condition compared to the control label condition. When taking the aesthetic preference for a painting into account, the MoMA condition elicited higher involvement of right precuneus, bilateral anterior cingulate cortex (ACC), and temporoparietal junction (TPJ). Our findings indicate that mental frames, in particular labels of social value, modulate both cognitive and affective aspects of sensory processing.

Do I really feel it? The contributions of subjective fluency and compatibility in low-level effects on aesthetic appreciation.

The causes for the liking of objects are multifaceted. According to the processing fluency account, the ease with which an object is processed leads to a subjective feeling of fluency. This subjective feeling is then interpreted as a positive reaction toward the object resulting higher liking. However, evidence regarding the processes underlying this relation is scarce. To show that the subjective feeling can indeed be responsible for liking, we experimentally manipulated processing ease by providing false physiological feedback (varying skin conductance indicated varying feelings of fluency) and by varying presentation times between 100 and 400 ms while participants viewed line drawings of objects and rated them for liking. A first experiment showed that both false physiological feedback and presentation duration influenced liking. Stimuli primed with a (fake) visualization of a physiological correlate of high ease of processing were liked more than stimuli primed with a low ease of processing. Liking ratings in a no-feedback condition fell between the high and low feedback conditions. To explore possible compatibility effects of coupling visual feedback to the fluency interpretation, in a second experiment we reversed the feedback interpretation-visualization of high skin conductance now indicated low ease of processing. The results show a similar pattern, though the effect was subtler. This indicates that when the coupling of feedback to fluency is less apparent or less compatible, the feeling is less strongly linked to liking. Our results support the claim that variations in the feeling of fluency affect the appreciation of objects in terms of liking. Together, the experiments suggest the contributions of processing ease as well as compatibility to the experience of liking.

On the Role of Mentalizing Processes in Aesthetic Appreciation: An ERP Study.

We used event-related brain potentials to explore the impact of mental perspective taking on processes of aesthetic appreciation of visual art. Participants (non-experts) were first presented with information about the life and attitudes of a fictitious artist. Subsequently, they were cued trial-wise to make an aesthetic judgment regarding an image depicting a piece of abstract art either from their own perspective or from the imagined perspective of the fictitious artist [i.e., theory of mind (ToM) condition]. Positive self-referential judgments were made more quickly and negative self-referential judgments were made more slowly than the corresponding judgments from the imagined perspective. Event-related potential analyses revealed significant differences between the two tasks both within the preparation period (i.e., during the cue-stimulus interval) and within the stimulus presentation period. For the ToM condition we observed a relative centro-parietal negativity during the preparation period (700-330 ms preceding picture onset) and a relative centro-parietal positivity during the stimulus presentation period (700-1100 ms after stimulus onset). These findings suggest that different subprocesses are involved in aesthetic appreciation and judgment of visual abstract art from one's own vs. from another person's perspective.